The Top 25 Albums of 2024
A ranking and review of the year’s best releases from Korean, Japanese, and Chinese artists!
Check out part one of this countdown here, part two here, and part three here!
#25: OFFICIAL HIGE DANDISM, Rejoice
This album indeed offers many reasons to Rejoice, from clever ways with words to explosive soundscapes! This band uses a plethora of unconventional analogies… Plus, the pacing remains unpredictable, with songs like “Catch Ball” seeming to change tempos as they go alone, as if made through improvisation (“White Noise” has a similarly interesting pattern of escalations and retreats). Read more here!
#24: tripleS, <ASSEMBLE24>
<ASSEMBLE24> takes unconventional routes to tell a powerful story of resilience. The music itself compounds the music video’s message; listeners gain determination to keep putting one foot in front of the other as they listen to wailing guitars, fast beats, and throwback sounds mixed with trendy ones - a pairing of the old and new that matches the theme of being fueled by past and future challenges alike. Read more here!
#23: DPR IAN, SAINT
DPR IAN is a natural at telling richly meaningful and immersive stories… They are akin to the soundtrack of a live theater production or a musical audiobook; vivid imagery is provoked through sprawling, atmospheric, layered soundscapes. The experience is complete with different voices used for different alter egos. DPR IAN’s music is also commendable for the ways it gives listeners a life soundtrack for times of gutting transformation. It is cathartic to watch one’s inner turmoil take on a visual - and therefore no longer formless and endless - presence in his shape-shifting characters… SAINT is a lot to take in, both visually and sonically, and that is par for the course for DPR IAN, as he once again taps into the audience's deepest thoughts and feelings. Read more here!
#22: BOYNEXTDOOR, 19.99
With a band name like “BOYNEXTDOOR,” an image automatically comes to mind, and while the K-pop boy group named BOYNEXTDOOR does take advantage of that baked-in branding, they also constantly go beyond it. Rather than completely shunning the stereotypical concept of a humble, shy, wholesome “boy next door,” they just alter and expand that preconceived image; they opt to redefine the concept instead of throwing it away. With [19.99], they turn the cliche into the creative in more apparent ways than ever, while holding onto crucial nuances when it comes to self-expression. Read more here!
#21: Jimin, MUSE
MUSE is a time machine. It celebrates the Jimin of the past with “Closer Than This,” a sweet song he made with his fans in mind. It pays homage to artists who came before Jimin, through the “Smeraldo Garden Marching Band” music video, which is loosely inspired by The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. It moves into the present day with “Slow Dance,” a saxophone-driven R&B song that speaks to Jimin’s newfound maturity, and “Be Mine,” a song that speaks to his new comfort level with genre-blending (the song is Latin- and Afrobeats-inspired and is topped off with R&B synths). Lastly, “Who” puts one foot in the past and one in the present, pairing Jimin’s early-aughts musical influences with lyrics about what is currently on his mind. While MUSE is a solid listening experience on its own, it is doubly satisfying when listening to it back-to-back with FACE… Read more here!
#20: Li Ronghao, The Dark Horse
These songs combine philosophical reflections, unique metaphors, and personal revelations, and the images they provoke are often simultaneously dramatic and down-to-earth. Li Ronghao’s gift for provoking mental imagery through his words gives each song a life of its own, making the cinematic corresponding videos an unnecessary but welcome bonus!... There is enough depth to each song on The Dark Horse that it feels larger than a ten-track project. Read more here!
#19: LE SSERAFIM, EASY
The EASY era’s conceptual roots lie in an insightful poem by Maggie Smith, “Good Bones.” Smith writes about treating this broken and chaotic world like a real estate agent treats a client’s less-than-stellar abode: as something that has admirable qualities if one feels obligated to look for and highlight them. She wants to “sell [her kids] the world,” to do her part in making sure future generations see this world as not so flawed as to be beyond repair. LE SSERAFIM apply this mindset to their own lives, magnifying their potential for greatness and subsequently shrinking their room for doubt and worry. After establishing the “Build something useful on top of this good foundation” mission in the first few songs… they tack on a “regardless of who is or is not watching” clarification… By seeing the usefulness in the “good bones” upon which they build their lives, LE SSERAFIM “sell” their image of having “easy” lives to the audience. It’s a meta application of Smith’s thought-provoking spin on a “fake it ‘til you make it” outlook. The songs on EASY are LE SSERAFIM’s reminders to themselves that those who belittle their work ethic misunderstand how the world works. No one is purely lucky; everyone is just doing what they can with the “good bones” they have been given. Read more here!
#18: TAEMIN, ETERNAL
TAEMIN proves to still have a knack for turning heavy and abstract sources of inspiration into a digestible, compelling, and condensed collection of songs. This time, those sources of inspiration include states of consciousness. His layered lyrics cast him in the role of a dimension-hopping yet wary protagonist. Viewers do not have to choose between songs with rich, psychoanalytic context and songs that put a spotlight on TAEMIN’s seductive voice; songs like “Sexy In The Air” and “Deja Vu” have both! TAEMIN has incorporated psychological and philosophical concepts into his music before, but not in these specific ways, and never before with so much hands-on writing and production input, proving that his musicianship is indeed eternal!
#17: BAND-MAID, Epic Narratives
Epic Narratives is an inversion of BAND-MAID’s “sweet on the outside, sour on the inside” musical image; it is an unapologetic rock album but has sweetness at its core for those who give it a closer look. Stories about straightforward topics like carefree hangouts and missing their friends are told with guitar solos galore, rapid escalations, and other attention-grabbing additions. The importance that BAND-MAID place on friendship in Epic Narratives speaks to one of the best ironies of life: Its most cherishable, buzz-worthy components are actually some of the simplest ones. Read more here!
#16: RM, Right Place, Wrong Person
Right Place, Wrong Person is RM’s most genre-averse and purposefully meandering work to date. The instruments and his words alike conjure up nuanced atmospheres and hard-to-pinpoint emotions that clash in the corresponding music videos. The unsettling scenes in videos like the literally dark “Domodachi” are by design; viewers are put in the middle of situations as RM is, nothing if not uncertain. Besides defying genre classifications, terms like “characters” and “plot” do not quite apply to Right Place, Wrong Person either… Read more here!
#15: Kenshi Yonezu, LOST CORNER
LOST CORNER is a surreal and subversive take on movie tropes and pop music cliches alike. In “RED OUT,” Kenshi Yonezu portrays being a famous musician as frustrating, uncontrollable, and involving a fear of not checking off all of a boss’s and/or company’s boxes. At the same time, he purposefully gives minimal effort, sticking to mundane comments instead of meeting the moments warranted by the bold, bustling instrumentals… With a dark sense of humor and inventive approach, LOST CORNER is a tongue-in-cheek musical collage worth every second. Read more here!
#14: TRiDENT, DUX
DUX summarizes and solidifies this J-rock group’s fierce and grandiose image in the audience’s mind. Read more here!
Previous review about part of DUX that was pre-released, the EP spice “X”: These songs range from mildly to wildly chaotic! Right out of the gate, racing guitars and drums set the stage, with strings, piano notes, and even a saxophone tossed in here and there. Just as jolting are abrupt exclamations and periods where instruments suddenly fall silent. Unpredictability is the name of TRiDENT’s game, which makes “SPICE!” the perfect album opener and the epitome of the album’s essence… TRiDENT’s typical in-your-face attitude remains on full display. Read more here!
#13: PURPLE KISS, HEADWAY
HEADWAY is a testament to PURPLE KISS’s strong artistic intuition. They manage to make all kinds of adjectives suitable for their songs, and often seemingly contradictory ones at the same time. Their lyrics do not pick and choose between being spiteful or sweet, and their songs can be breezy but maintain an ominous undercurrent!... With terrific teamwork and distinguishable lyricism, PURPLE KISS have once again released a project that is as smooth as it is dynamic. Read more here!
#12: Sakurazaka46, Jigoujitoku special edition
Every aspect of this Sakurazaka46 era is compelling: its electrifying instrumentals, its meaningful lyrics, its re-watchable corresponding music videos, and its appealing album cover. The group does an excellent job at embedding social commentary in all-consuming, fast-paced soundscapes, and they reinforce their positions through striking and symbolic visuals. Read more here!
#11: SEVENTEEN, 17 IS RIGHT HERE
The songs and videos affiliated with 17 IS RIGHT HERE excel at conveying SEVENTEEN’s evergreen values of inclusion, individuality, empathy, and creativity. Lyrically, sonically, and visually, their work represents emotions and experiences with the humor, wit, compassion, depth, and nuance they deserve. They treat anyone and anything that makes noise as someone or something worth trying to harmonize with; they see potential everywhere, allowing their dreams to feel realistic and their music video world (aka their “Fantasia”) to feel like its front gates are always open. Read more here!
#10: TXT, The Star Chapter: SANCTUARY
To those unfamiliar with the TXT Music Video Universe, The Star Chapter: SANCTUARY is still easy to appreciate and enjoy. Layered harmonies and a surprising number of falsetto moments sweep listeners into a dreamy soundscape that stands apart from previous TXT releases. The music is not generic, boring pop; they seamlessly combine R&B, pop, rock, and even dancehall elements. The songs are distinguishable, but the album as a whole makes for a cohesive listening experience, with lyrics focused on themes like paradise, dreams, and eternal love. The Star Chapter: SANCTUARY deserves praise for its smooth yet versatile production and sweet sentiments; these traits are enough on their own for it to earn its spot on “Best New Music” lists… However, to those who are familiar with the TXT Music Video Universe, the appeal of The Star Chapter: SANCTUARY goes much deeper. The new material provides visual and sonic equivalents for the lessons their characters have been learning… Read more here!
#9: IU, The Winning
The Winning has a remarkable breadth and depth for an era of just five songs! Yet each song from The Winning raises the same question: What does winning look like?... Pages on pages could be spent dissecting each song and music video, but the overall takeaway remains the same: “Winning” looks different for everyone. Implicit in that message is an appreciation of the diversity of people’s mindsets, preferences, goals, and dreams. With lyrics like “Ballad, disco, hip-hop / It doesn’t matter… I’m stanning” (“I stan U”) and “Take what you want / No matter who calls you a freak” (“Shopper”), IU celebrates how distinct each person’s vision of happiness is and reminds people that one’s win is not another’s loss. Read more here!
#8: MIYAVI, LOST IN LOVE, FOUND IN PAIN
LOST IN LOVE, FOUND IN PAIN is like the opening of a Pandora’s Box. All of MIYAVI’s thoughts are unleashed and take on lives of their own, and inner demons are made to sound like literal monsters surrounding him… Sometimes, the monsters MIYAVI sings about sound like they are party attendees, hooting and hollering as they repeat his sentiments. Other times, the party sounds like it is over, but memories of the monsters still ring in MIYAVI’s head. Whether the party is at its liveliest or dying down, MIYAVI’s voice is never alone, a thought that is as comforting as it is unsettling. Compounding the sense of listening in on a raucous, unpredictable haunted house party are mid-song changes, including instrumental-only breaks and pace switch-ups. Each song is chaotic in its own ways, and MIYAVI’s overall mentality seems to be, “If I’m going through Hell, I might as well throw a party while I’m here!” Read more here and here!
#7: WENDY, Wish You Hell
The space made for both songs with orchestral flourishes and with R&B beats, the gothic ballerina aesthetics, the Wonderland-esque plot twists… WENDY’s mix of spooky and sweet concepts definitely brings Red Velvet to mind! However, these songs show clear contrasts to both Red Velvet’s and WENDY’s past solo material, especially when it comes to her approach to lyrics. The songs take unexpected detours from what the titles might lead people to assume… She simultaneously makes people feel like her friends while winking and nodding to her “Villain Era” and her more carefree and spontaneous side! Read more here!
#6: NCT DREAM, DREAMSCAPE
The DREAM()SCAPE era involved a series of mini-movies that clarified the NCT DREAM narrative, one involving a group of young men who broke out of a conformity-requiring institution and entered a limitless world of their own making. The DREAMSCAPE era visually and auditorily depicts that new world, which is a logic-free one that shows just how many dreams NCT DREAM have come up with while constrained. The variety of sounds, styles, and sentiments in DREAMSCAPE carry extra meaning with this backstory in mind; the members’ ideas are now able to all burst out of them! In fact, their characters have so many ideas to share with the world that they do so at a rapid clip, sometimes not even waiting until one song ends and another begins to move on to the next daydream, literally and metaphorically changing their tune!… After a prolonged period of captivity, this chapter of NCT DREAM’s fictional story brings to life the feeling of freedom to explore all possibilities. Read more here!
#5: Younha, GROWTH THEORY : Final Edition
Younha’s “GROWTH” eras are ultimately about realizing that life’s meaning comes from the journeys, not the destinations. Younha’s albums are tributes to life’s endless opportunities for learning new things, changing one’s mind, exploring new places, and overall navigating new waters.
In GROWTH THEORY : Final Edition, the final lyric is “Thank you,” as if Younha is thanking the big and beautiful world for the lessons it has taught her, which were really more of a reminder about how much there remains left to learn!
Read more here about GROWTH THEORY and more here about GROWTH THEORY : Final Edition!
#4: SEVENTEEN, SPILL THE FEELS
SEVENTEEN’s new songs and videos convey this bottom line: What matters more than what one says or how one says it is whether or not one says it at all… SEVENTEEN’s mission has always been to use the power of music for good, making SPILL THE FEELS another success story. SPILL THE FEELS reminds people of the freedom, support, and sky-high possibilities that await them on the other side of overthinking. Every aspect of this new era is its own reminder that SEVENTEEN want as many people as possible to feel free to “Speak Up,” for the benefit of everyone. SPILL THE FEELS is a powerful permission structure to join SEVENTEEN’s inclusive, imaginative, nonjudgmental, and always-expanding musical universe. Read more here!
#3: YUTA, Depth
Depth is an unflinching, universal, full-circle look at experiencing acute pain, emerging from it stronger, and looking back with gratitude for every step that has led to a new beginning… Like a butterfly, the Depth listening experience is particularly meaningful and beneficial for those who stop to fully take in its fleeting yet stunning presence. Read more here!
#2: Stray Kids, ATE
The essence of Stray Kids is defined by playfulness, self-awareness, and limitless storytelling, and ATE epitomizes all three traits. The album is full of examples of how Stray Kids convey multiple meanings in the same lyrics, collapse contexts and combine plots in their music videos, and overall negate boundaries between and among stories and sides of themselves. With these tendencies intact, through the music videos and songs alike, ATE relentlessly and wholly represents Stray Kids. Read more here!
#1: TXT, minisode 3: TOMORROW
Read a deep dive into this album’s meaning and source of inspiration, The Little Prince, here! An excerpt:
TXT have answers to the key questions in The Little Prince: What and who is it all for?
It is all for intangible things. They do it all for love, for friendship, for the people and the things they have ascribed special meanings to, for all of the tomorrows that they can eagerly await as a result of ascribing those meanings. They do not find the meaning of life through going through the motions (like the men the prince visits on different planets), through following “practical advice” that results in giving up one’s dreams (like the narrator), through talking about merely “sensible things” (like the grown-ups who disliked the narrator’s eccentric drawings), or for no end goal at all (like some of the travelers and pill-buyers in The Little Prince). They determine that life is meaningful when they find meaning in the invisible, in the things that cannot be “seen with the eyes.”
minisode 3: TOMORROW, when considering the context of TXT’s previous eras, is an ode to the little things and the sources of lasting light in life: togetherness, a willingness to live in a shade of gray, and, most importantly, the mindset that loving and losing is always better than never loving at all. They can take the pain of loving someone or something, and they must, for taking time to appreciate those people and things is the wisest possible choice, the ultimate “matter of consequence.”
More of 2024’s best music:
The Best K-Pop Music Videos, No. 50 - 26